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Posts Tagged ‘Hector Berlioz’

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Well, the highlight of the month was undoubtedly my trip to the rehearsal of the Olympic Games Opening Ceremony. We didn’t get the whole lot (sadly not the winged bicyclists, but thankfully not the never-ending entrance of the teams!) but we got most of it and it was truly spectacular. My front row seat may not have been the best, but I was privileged to be there and it was an experience I will never forget. You know the rest, but here are some photos!

Another unexpected treat was getting tickets to one of Eddie Izzard‘s work-in-progess shows in the cabaret space at Soho Theatre. A late Monday night (after dinner and drinks) was a challenge, but it was fun. He really is a one-off.

Opera-wise, it was Cape Town Opera‘s visit with Porgy & Bess, which proved itself to be more of an opera than a musical in this excellent production. Moving it to a South African township worked, though the highlights were all vocal – the soloists and chorus were thrilling.

I’m not sure I know how to categorise Desdemona, a collaboration between poet Toni Morrison, director Peter Sellers and favourite Malian singer Rokia Traore, but given it was Rokia that largely drew me to it and was the best thing about it, I’ve decided it’s music. Her songs were lovely, but the narrative that accompanied it was never-ending and somewhat pretentious. It would have made a great concert!

I never made it to Bryn Terfel’s festival in his back yard in North Wales (though we had tickets for the last one, which was cancelled!) so well done Southbank Centre for bringing Bryn Fest to me! The evening of songs from the Golden Age of Broadway featured a quartet of favourites – Julian Ovenden, Clive Rowe, Hannah Waddingham and Emma Williams – as well as the man himself, and it was full of highlights. You rarely hear these songs with a full orchestra and that was a huge bonus. It was lovely to see Bryn & Clive’s take on Brush Up Your Shakespeare. I expected Clive to be word-perfect given he’s currently playing it in Chichester, but Bryn was too – no mean feat with all those Shakespeare references.

Though I had a ticket, I missed the opera evening because I had a better offer (a freebie return to the wonderful Sweeney Todd!) and I caught only half of pianist Huw Warren‘s free foyer concert, which featured a trumpeter and a jazz version of a Welsh hymn, but was glad I caught what I caught. The Wales Choir of the World event was another treat, featuring choirs from 11 countries on 5 continents. The highlights were the South African choir, the Cory Band and the massed choir & brass band rendition of the world premiere of a Karl Jenkins The Hero’s Journey. As I left the RFH, a large audience on the riverside were being taught to sing in Welsh for Bryn’s Big Sing which was a fitting end to this mini-festival.

Four Proms this month, starting with the much criticised populist opening night. Well, I enjoyed it; what’s wrong with a bit of populist patriotism?! More Bryn (the 5th time in 17 days!) in Delius’ lovely Sea Drift, a quartet of premiere league soloists for Elgar’s full Coronation Ode and orchestral pieces from Tippett and Elgar again – oh and a Mark Anthony Turnage world premiere, just in case you were feeling a bit too nostalgic! Six days later, Handel’s oratorio Judas Maccabaeus was given a rare but enjoyable outing by the Orchestra and Chorus of the Age of Enlightenment with another quartet of fine soloists. This was followed three days later by a concert version of Berlioz The Trojans – long but lovely! Again, some great solo turns from Bryan Hymel, Eva-Maria Westbroek and Anna Caterina Antonacci, this time with the superb orchestra and chorus of the ROH under Antonio Pappano. So to the night of the opening of the Olympics where an early start for Beethoven’s 9th meant we (and conductor Daniel Barenboim, who later carried in the Olympic flag!) wouldn’t miss Danny Boyle’s spectacular on TV. Barenboim’s West-East Divan Orchestra, made up of young Palestinian and Israeli musicians, was right for the occasion but also played brilliantly and the National Youth Choir of Great Britain, also right for the occasion, were stunning. What a prologue for the evening that followed!

It was time to catch up with some art this month and I started at the De Morgan Centre where the work of ceramicist William and his painter wife Evelyn is showcased in a small but superb collection; eye-poppingly beautiful (if you’re into Arts & Crafts and / or the pre-Raphaelites) .  Picasso & Modern British Art at Tate Britain was a brilliantly curated show putting Picasso alongside those he influenced, including Wyndham Lewis, Ben Nicholson, Henry Moore, Francis Bacon, Graham Sutherland & David Hockney. I was less enamoured by Migrations – Journeys into British Art at the same place, more because of the quality of the work than the idea of the exhibition, which was a good one.

My annual trip to the Serpentine Gallery to see their Pavilion (an excellent, largely below ground, collaboration between Ai Wei Wei and Herzog & De Meuron, the team that did the Beijing birds nest Olympic stadium) was extended to see Yoko Ono‘s show which was more interesting, and a lot less pretentiously avant-garde, than I was expecting.

Finally, during a weekend in Bath, I popped into their newly renovated Holburne Art Museum for a lovely small portrait sculpture exhibition and stayed for What Are You Like (based on the Victorian parlour game, where people draw their favourite things) and their permanent collection. This is now one of the best regional art galleries; well worth a visit.

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I’ve been critical of ENO’s recruitment of film directors. These opera virgins – the late Anthony Minghella, Sally Potter, Mike Figgis and now Terry Gilliam – have had limited success, but it seems to me the real point of recruiting them is not what they bring to the art form but to generate a hype which sells seats. The best part of Figgis’ Lucrezia Borgia was in fact the films slotted into the action. The hype for Gilliam’s effort has been relentless; at one point the opera was billed as ‘Terry Gilliam’s The Damnation of Faust’, demoting Berlioz to a bit part in his own creation.

It’s an unusual opera – is it an opera? – with surprisingly little singing, but it does have some lovely music and the Faust legend is of course made for opera – Gounod, Busoni and Boito also had a go. Gilliam’s concept is to ‘follow the trajectory of German art and history from the late nineteenth century to the mid twentieth century’ and it’s a perfectly valid concept. The opening Caspar David Friedrich image is spellbinding. Then his imagination runs riot and he downloads so many ideas it’s difficult to keep up. It does slow down in the second half, which allows the story to breathe, but it is an extraordinary flight of the imagination. The trouble is, this swamps the story and overpowers Berlioz’ music, so it really is ‘Terry Gilliam’s The Damnation of Faust’.

The more experienced design team of Hildegard Bechtler, Katrina Lindsay and Peter Mumford do extraordinary work converting these ideas into stunning visual imagery, assisted by Finn Ross’ giant projections. Things aren’t so good in the music department, despite the fact that Edward Gardner is at the helm. The chorus was often ragged, Peter Hoare started well as Faust but in the second half was no match for Christine Rice’s gorgeous Marguerite and Christopher Purves continued his long journey from Harvey & The Wallbangers to give us a respectable Mephistopheles. Musically it wasn’t a patch on the LSO under Sir Colin Davies in concert or even Met Live at the cinema.

If you want to see Terry Gilliam’s The Damnation of Faust, you’ll be rewarded with a spectacle as spectacular as anything you’ve seen before in an opera house. If you want to see Berlioz’ The Damnation of Faust, you might be better giving it a miss.

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